Riley Stearns’s film consistently tickles the funny bone, even when it comes at the expense of psychological nuance.
The series attempts to derive excitement solely from its overly calibrated performances.
The film mixes a self-help message with moments of hard, cruel detail.
The film is more interested in how people respond to extreme emotional crises than to everyday life.
Aaron Paul possesses an innate everyman quality that lends itself well to writer-director Zack Whedon’s film.
Every incident in the film is a time-biding maneuver, completely and unimaginatively untethered from logic.
The film is, at least, a marvelously enticing advertisement for the upcoming Final Fantasy XV video game.
The film’s weird reformulation of the Electra complex is nothing short of a sexist fantasy of salvation.
It’s a pity that no one else involved in the making of the film had Dwayne Johnson’s sly intuition.
This terrific neo-noir has been outfitted with a beautiful transfer and no extras to speak of, which is a shame.
The Path is content to focus on a variety of rote melodramatic byways that give little in the way of insight into the fight between faith and personal desire.
Director Gavin Hood treats the aesthetics of high-tech surveillance as the opaque membrane through which the prosecution of the War on Terror must pass.
The film arrives prepackaged with suggested comparisons to Heat that it never earns because of its dreary literal-mindedness.
It doesn’t take long to realize that Ridley Scott’s adaptation is only aiming for certain forms of credibility, and callously eschewing others.
An inept trifle, Pascal Chaumeil’s film reduces Nick Hornby’s novel of the same name to a series of smug self-help gestures.
Soul alone does not make a film, and Hellion is a wispy and timid piece despite its loud bark.
This isn’t a film of bedside conversions or radical emotional transformations, nor is it a story about laughing at one’s own hardships as a coping mechanism.
Even when compared to other Ford Mustang commercials, the film isn’t particularly memorable for anything other than the startling incompetence and dull sheen of the end result.
Breaking Bad’s series finale, “Felina,” fulfills the implications of last week’s “Granite State.”
As Breaking Bad nears its final episode, viewers have become preoccupied with who will live and who will die.